Form Of Riddle Research Articles

Miyazaki's Hybrid Worlds and Their Riddle-Stories

<p>“Fairy tales begin with conflict because we all begin our lives with conflict,” famously states Jack Zipes. And yet, this statement does not always seem to apply to non-Western story structures, such as the Asian kishōtenketsu, which implies a story development that does not necessarily revolve around conflicts. In many of Hayao Miyazaki’s movies (e.g., My Neighbor Totoro; Spirited Away, The Secret World of Arietty), it is possible to detect, on the one hand, the kishōtenketsu-based plot, and,on the other hand, the widespread presence of Western fairy-tale tropes. Conflicts in traditional Western fairy tales may sometimes manifest in the form of riddles to solve. Although Miyazaki’s stories do not shun away from riddles, how do these riddles relate to conflicts? How are Western and Asian story structures bound together in Miyazaki’s narratives, and what effects does this hybridization generate in their audiences? This article argues that: 1.) Riddles based on Western fairy tales in Miyazaki’s work do not necessarily involve conflicts, and are recast and re-elaborated in highly unusual ways; and 2.) The employment of these unusual patterns, mixing up together Oriental and Occidental frames of reference, gives rise to stories that puzzle the mind of spectators, working as complex narrative riddles.</p>

Polemika medzi cisárom Hadriánom a filozofom Epiktétom

The work, Dialogue between the Emperor Hadrian and Epictetus the Philosopher, is a fictional dialogue consisting of seventy-three questions and answers, probably written in the 2nd or 3rd century AD. It features the Roman emperor Hadrian as the questioning pupil and the Stoic philosopher Epictetus as the responding teacher. Most of the questions can be divided into two main categories. The smaller part is written in the form of riddles. The others are definitions. The questions deal with a variety of topics: things to do with death (e.g. gravedigger, funeral pyre), definitions of various metals (gold, silver, iron), useful things (e.g. letter, picture, sword), relationships and emotional terms (e.g. friendship, hope, love), celestial objects (sun, moon, sky, stars, earth), and realities related to seafaring (sea, ship, sailor), nightlife (sleep, night, pillow) or religion (god, sacrifice). This work was particularly influential in the development of medieval dialogue. The most famous adaptation is the Enfant Sage, which originated in the 13th century somewhere in the region of Provence.

Rökstenen. Två nytolkningar

This article discusses two recent studies of the Rök rune stone in Sweden (Ralph 2021 and Williams 2021). They follow different lines of interpretations. Ralph views cosmic symbolism as the key to understanding the inscription as a form of riddles in which the text is preserved. The Ragnarök myth presents the background against which Williams elaborates his interpretation. Some runic sequences that show the differences between the scholars are explored in more detail. The aim of the inscription is finally addressed.

GENDER HUMOR DISCOURSE IN ‘FRIENDS’ COMEDY SERIES

ABSTRACT This study deals with Gender Humor Discourse in ‘Friends’ Comedy Series. The aims of the study are 1) to categorize the types of gender humors used in ‘Friends’ comedy series, 2) to describe how gender humors realized in ‘Friends’ comedy series, and 3) to explain the reason of realizing gender humors in ‘Friends’ comedy series in the ways they are. The study used a qualitative descriptive method and a critical discourse analysis approach. The data of the study is drawn from scripts consisted clauses of gender humor discourse in ‘Friends’ comedy series. The techniques for collecting data were observing the plot of the comedy series and selecting episodes which the one that contained the most humor in friendship then download the episodes selected to be observed, after that make documentations by trimming the scenes for making the transcript of dialogues from cut scenes and finding expressions appeared of all players in the comedy series to be observe. The results of study found that there were twenty-six clauses consisted humor types found in this study namely: Self-defeating types were eight (31%). Aggressive types were seven (27%), Affiliative types were six (23%) and elf-enhancing types were five (19%), It can be concluded that Self-defeating types became had high frequency in ‘Friends’ comedy series. From forty-three clauses in ‘Friends’ comedy series, there were nine form of ten humor form realized in ‘Friends’ comedy series, they are Pun form, Riddle form, Joke form, Satire form, Anecdote form, Farce form, Irony form, Sarcasm form, and Wit form. From nine forms of verbal humor, Farce form became had high frequency in the kind of verbal humor of ’Friends’ comedy series. Finally the last study results, there were three reason of realizing humors discourse namely: Universal joke, Cultural Joke, and Linguistic joke.

Insight with stumpers: Normative solution data for 25 stumpers and a fresh perspective on the accuracy effect

When people solve a problem, they can do in one of two ways - analytically or through insight. There is robust evidence showing that a problem solved insightfully is more likely to be correct than one solved through analysis, the so-called accuracy or correctness effect in insight research. However, the nature of the insight problems in the laboratory means that it is often not easy to disentangle whether a participant feels correct or whether she actually is correct. We report data from two studies using stumpers as stimuli. Stumpers are a form of riddle in which it is possible to generate a plausible but incorrect answer. Alongside normative data for 25 stumpers, we also demonstrate that insight is linked to certainty in the answer rather than whether the answer is correct or not and that certainty (subjective correctness) is a stronger predictor of the feeling of insight than objective correctness. The findings support work into false insight and further add to the understanding of the phenomenology of ‘aha’ moments.

СЕРІКБОЛ ҚОНДЫБАЙ: ҚАЗАҚ МИФОЛОГИЯСЫ

Abstract. The article discusses the evaluation of S. Kondybai's works, as well as the most important of them – the problem of Kazakh mythology. Serikbol Kondybai's works were evaluated as "a rare phenomenon in national spirituality, a solar hero, a global phenomenon." At the same time, in the works of Kazakh mythology, the problems of myths, ideas about the ancient, primitive Universe of ancestors, its individual worlds, about the life of the primitive peoples of this universe are considered in detail and defined. Myth is the first stage of the spiritual culture of mankind, therefore, mastering Kazakh mythology can help to take a fresh look at what is still unclear in Kazakh psychology, customs, culture and literature, history. A myth is not a made-up lie, not an artificial world, but the reality of a real people about the world and about themselves, based on historical, spiritual experience, which is considered true. The mythology of Kazakhstan is a unified system of ideas about the ancient nomadic tribal life, numbering several thousand years of participation in famous places of modern Kazakhstan. In his work "Introduction to Kazakh mythology" S. Kondybai raises the question of whether there is a mythology. The answer is in the oral heritage -in psalms and chronicles, in various fairy tales, in the form of riddles and religious rituals, as well as in the fact that the vocabulary of the Kazakh language is deeply hidden. The heritage representing the mythical existence is transmitted to the real society and is used for literary and national-forming, educational purposes. Society is continuously evolving in time and space and therefore constantly changing in mythology. The myth is a collection of unforgettable heritage of our ancestors, passed down from generation to generation. At the same time, legends are a set of beliefs that give meaning to our lives. Keywords: myth, kazakh myth, mythical consciousness, argykazak mythology, spiritual world, phenomenon, cultural studies, religious mythology, national spirituality, space.

National Icon and Cultural Ambassador: Zoltán Kodály in the Musical Life of State Socialist Hungary

Abstract In my paper, I wish to raise questions pertinent to the changing position of the composer, ethnomusicologist and musical educationalist Zoltan Kodály in the musical and cultural life of the Stalinist and post-Stalinist periods of Hungarian state socialism. Owing to his folkloristic and conservative musical style, and also his identity as “an educator of the people,” Kodály established his status as a fellow traveller of statesocialism in the early 1950s. The easiest way in Hungarian composition to satisfy the expectations of the political power, as inspired by Zhdanov’s aesthetics, was to follow the style of Kodály. At the same time, Kodály sustained his reputation as a “genuine” national icon whose music was capable of expressing, even if in riddle form, anti-Stalinist sentiments in the eyes of various political and cultural circles, especially after 1953. In spite of the fact that Kodály did not take any active part in the political struggles in the revolution of 1956, he was named as a candidate for head of state by important revolutionary forces. Following the suppression of the revolution, the restored state socialist political power revised its practices in the field of art. The fact that the new cultural policy gave up the idea of a unified Hungarian art which is “national in form and socialist in content,” resulted in a temporary weakening of Kodály’s position. Kodály’s status was precarious, subjected to a challenge by avant-garde trends in composition and competing paradigms of musical education. From the early 1960s, however, when both the Western and Eastern political systems proposed strategies for long-term coexistence, Kodály gained a new function from the perspective of the political power. In Western cultural circles Kodály sustained a reputation as one of the great European humanists, and his music educational method generated a strong professional interest globally, and particularly in the usa. My paper also examines the cultural political impact of Kodály’s visit to Moscow in 1963. Kodály seems to have functioned as a mediator across the political divide. He had achieved great personal successes during his tours to the political West, and this reinforced his position in Hungary.

ИСПОЛЬЗОВАНИЕ «СЕРОЙ ТЕНИ» В ТЕАТРАЛЬНОМ ИСКУССТВЕ КАК СПОСОБ СОЗДАНИЯ ЭФФЕКТА ТАИНСТВЕННОГО

The phenomenon of light and shadow is discussed by many sciences, including art criticism. And what does the shadow really represent? What is the relationship between light and shadow? When and why do we use shadows as a technique in theatrical performances? This work explores the shadow as a consequence of the action of light on an object that does not allow it to pass through - the "gray shadow" in theatrical performances. There Are numerous theatrical performances in which diverse projections and shadows are used as expressive means. We use shadow in the theater when we want to know, to see the unlit, hidden side of someone or something. This physical phenomenon has always attracted the attention of people of different cultures and eras and naturally found application in theatrical performances. They involve in either multi-colored or gray shadows. When an object does not transmit light completely appears - a "gray shadow", denoting only the contours of a certain object, the silhouette of the object used in the theatrical performance. Folk art in the form of riddles, games and other things created phrases that are an important guide in understanding and determining the laws of their existence in theatrical works. Shadows turned out to be interesting and useful in training actors and directors of the puppet theater.

The genre of folk riddles and forms of its application in ashug art of the Lezgins

The subject of this article is ashug art, namely improv singers. The object of this research is one of the genre varieties of ashug poetry – the dialogue songs. Roll songs hold a special place in non-ritualistic lyrical songs. With the historical development of the people, the contest songs stand out of the folklore poetry and take the form of riddles and solutions. These songs become a favorite genre of the Lezgin ashugs. Special attention is given to the transformation of the genre of folk riddles in the songs of ashug improvisators. Analysis is conducted on ideological-thematic diversity, as well as artistic distinctness of ashugs’ compositions. It is concluded that the poetic contest and dialogue songs, common in non-ritualistic lyrical songs of the Lezgins, received further development in the works of ashugs and improv singers. In later period, these songs appear in works of the classics of Lezgin poetry. The author's main contribution to this research consists in the analysis of ideological-thematic content and structure of poetic contest, presence of the genre of riddles therein, and as well determination of discrepancies between ashug riddles and folk riddles.

Educational Effect of Telegram-Based Virtual Training on Orthopedic Residents’ Knowledge in the Field of Spine Surgery

Background: The widespread use of social networks among students seems to provide an appropriate opportunity to track the effects of the media on their educational capabilities. Objectives: We aimed to investigate the effect of virtual education (via Telegram messaging service during six months) on the knowledge of orthopedic residents of Mashhad University of Medical Sciences in the field of spine surgery. Methods: This quasi-experiment study was conducted on 25 orthopedic residents with an Mean±SD age of 31.4±4.1 years. During a 6-month training course, 85 educational spinal cases were presented in the form of riddles, video questions, or case presentations and were discussed among orthopedic residents. Before and after the intervention, a reliable and valid exam comprising 70 multiple choice questions about different topics of spinal surgery was taken to evaluate the level of students’ knowledge. We used the annual residency promotion exam to compare the correlation coefficients obtained by Fischer exact test, paired t test, and independent t test for statistical analysis. Results: The Mean±SD score of the assistants’ knowledge in the pretest and post-test exams were 42.8±6 and 45.2±9.2 (out of a total score of 70). Despite the obvious increase, the values were not statistically significant (P=0.09, t=-1.7). The intervention was associated with an increase in the level of knowledge in 17 residents (68%) while in 8 (32%), this 6-month virtual training course has had no significant effect. In this regard, age, marital status, housing, activity level, or level of residency (from the first to fourth year) had no significant relationship with knowledge improvement. Conclusion: virtual spinal education for six months using the social network of Telegram could improve the level of knowledge in most orthopedic residents, although the observed difference was not statistically significant.

Pater Occultus: The Latin Bern Riddles and Their Place in Early Medieval Riddling

Although the enigmas found in the seventh-century anonymous Latin collection known as the Bern riddles are highly interesting and dramatic, they have been relatively neglected by scholars. This essay explores the Bern riddles’ place among other early medieval Latin riddle collections. It first explores the question of where the Bern riddles might have been written; as others have noted, it appears that its author was familiar with Mediterranean plants and products, and was thus probably native to southern Europe. The essay then seeks to outline the author’s relationship to the late-classical riddler known as Symphosius and the Anglo-Latin poet and scholar Aldhelm. The essay finds that the Bern riddler was clearly influenced by and drew upon the riddles of Symphosius, but developed this source material in dynamic ways. Furthermore, although the evidence is ambiguous, phrasing and choice of subjects appears to suggest that the Bern riddler preceded and influenced Aldhelm. Overall, the essay attempts to demonstrate that the Bern riddles demonstrate a significant achievement in the development of the Latin riddle form, and are worthy of study in and of themselves.

A hive of activity: realigning the figure of the bee in the mead-making network of Exeter Book Riddle 27

In dialogue with the recent movement toward more ecomaterialist analyses of environment in early medieval literature, the following essay engages with the methodology of Actor Network Theory to explore the network of interactions constructed in Exeter Book Riddle 27, usually solved as ‘mead.’ While the riddle clearly presents the processes of mead making and consuming, the figure of the bee appears to be strangely absent in the riddle’s construction of this mead-making process. Fulfilling Bruno Latour’s proclamation to ‘follow the actors,’ this essay argues that the behaviors, drives and characteristics of the bee are present in the interactions which take place between named actants and the riddle text as a whole. The riddle form opens up the mead-making/consuming network(s), emphasizing the bee actant’s presence in and influence on this transfer of energy.

The Novel Comes of Age: When Literature Started Talking with Children

“The Novel Comes of Age” aims to discuss the importance of conversation as Anna Laetitia Barbauld instantiates it in her Lessons for Children and Hymns in Prose for Children and in Evenings at Home, which she and her brother John Aikin jointly authored. As Barbauld lays out her account of the novel in her early treatment of the novel as a genre, she identifies the prominence of conversation as its distinctive feature. Exchanges—and particularly exchanges that take the form of riddles and solutions—suggest how the novel both documents the movements of consciousness and establishes a realism more reliant on dialogue than on thick description of setting.

On Nietzsche

On Nietzsche

“YOU, GUESS”: THE ENIGMAS OF CHRISTINA ROSSETTI

Throughout her life, Christina Rossetti was an enthusiastic writer and player of word games in verse. When she was seventeen, for instance, she spent the summer of 1848 in Brighton playing bouts-rimés sonnets with her brother, William. Together they timed themselves to see how fast they could write lines of verse to a given set of end rhymes: “emotional devastation in ten minutes or less,” Anne Jamison wittily puts it (145). Two years later, Rossetti published under her initials instances of different word games – an enigma (“Name any gentleman you spy”) and a charade (“Myfirstis no proof of mysecond”) – as part of a series of riddling word games in verse by various authors in theMarshall's Ladies Daily Remembrancer: For 1850. They count among Rossetti's first poetic publications. These popular riddling genres, while perhaps less familiar to readers today, were immediately recognizable to Rossetti's contemporaries. In his 1872 riddle anthology,Guess Me, F. D. Planché defines an “Enigma” as a riddle in verse, or “the most ancient form of Riddle . . . often a real poem as well as a question for solution” (3). In the 1891Cornhill Magazine, the article “Riddles” glosses a “charade” as a riddle that “turns upon the letters or syllables composing a word” (518). By publishing an enigma and a charade inMarshall's Ladies Daily Remembrancer, an inexpensive pocket book for women, Rossetti capitalized on the association of these genres as written by and for middle-class women, a point that I will argue in more detail later.

"Плач Адама" и «адамический текст» в древнеславянской рукописной традиции

Apocryphal stories of Adam related to the subjects of the Paradise lost, Adam’s repentance and expulsion from Eden, life of Adam and Eve after the expulsion, the manuscript that Adam gave to Satan, the Holy Cross story – all these subjects can be called the single Adamic text. This intertestamental texts includes Story of how many parts Adam was created from, Adam’s Handwriting, Story of the Cross Tree, Story of Adam and Eve, Adam’s Lament. In Old Russian manuscripts these texts were not necessarily clearly divided from one another, they were often copied as a single set related to the first man and woman. Author had like to look in more detail into the lament of Adam. The Old Testament says nothing about the penance and lament of Adam after his and Eve’s expulsion from Eden. However, the apocryphal Old Russian version (Confession of Eve) mentions his crying and lamenting. Another genre of the Adamic text (apart from prayer, narration, and lament) is the question-and-answer erotapocritical apocryphal literature in the form of riddles and solutions. For example, in the wellknown apocryphal ‘Talk of three Holy Hierarchs’, the text known in different versions to the southern Slavs since the 12th century, which has a long literary tradition in Russia well into the 19th century, there are riddles concerning Adam. The theme of Adam in Old Russian literary and oral traditions is present in several genres: narrative, spiritual verse, riddles.

POETRY IN REVIEW

1 6 7 R P O E T R Y I N R E V I E W G E O R G E B R A D L E Y Poets are fond of dreaming about the attentions of posterity, but it is the rare author whose work reaches a wider audience after he or she is no longer around to promote it. Even so, posthumous recognition happens just often enough that there exists the cliché of neglected genius persevering in obscurity and exists also the category of the recluse poet. Emily Dickinson is the most famous example – a brilliant mind working privately to produce poems that seem ever more significant with the passage of time – but there are others. William Blake, Herman Melville, Frederick Goddard Tuckerman . . . poets major and minor who retreated from the world (or from whom the world retreated) yet nonetheless achieved enough to eventually gain recognition. We have another now: the recluse poet of Montclair, New Jersey, Alfred Starr Hamilton. Hamilton lived to the age of ninety-one, but his long life added A D a r k D r e a m b o x o f A n o t h e r K i n d : T h e P o e m s o f A l f r e d S t a r r H a m i l t o n , by Alfred Starr Hamilton (Song Cave, 232 pp., $18.95 paper) O n t h e S t r e e t o f D i v i n e L o v e : N e w a n d S e l e c t e d P o e m s , by Barbara Hamby (University of Pittsburgh Press, 144 pp., $16.95 paper) 1 6 8 B R A D L E Y Y up to a marginal existence. Born in 1914, he tramped for a time as a young man (‘‘a hitchhiker through 43 states on no money at all’’); he went door to door in the Great Depression working as a Fuller Brush salesman; and he did an unhappy stint in the army during World War II. Mostly, though, he kept to himself, passing roughly half his days in a suburban boardinghouse, looking out the window and writing poems. He published little – a scattering of magazine appearances, a couple of chapbooks, one volume from a small press – and we have his work in publication now only because a few of the very few readers who encountered his verse in the 1970s were su≈ciently impressed to suggest it to the editors of another small press four decades later. In sum, Hamilton’s art is about as outside as outsider art gets. That in itself does not make his poetry any better or worse, but just as with Dickinson, Hamilton ’s peripheral status explains some of his strangeness, and it o√ers a first step to our understanding. As goes almost without saying, Alfred Starr Hamilton is not a poet on the order of Emily Dickinson. Still, he is of the same breed. He is a poet who has observed his narrow circumstances intently and at length and has arrived at a heightened version of the mundane. Like Dickinson, he enjoys puzzling his readers, so that some of his poems take the form of riddles. Like Dickinson, he writes poems that would be impossible to paraphrase. And like Dickinson he makes his verse out of a few ordinary things – a sunset, a star, a thunderstorm, a butterfly, a bird – items so commonplace they would hardly deserve comment were they not seen with Hamilton’s gently visionary eye. Tomorrow night I walked to a dark black star That I can have uncovered the face of the moon Today and tonight I walked to a seventh noon star in heaven That I opened the face of heaven, that I counted the dark chimes I walked along the pathway of a black butterfly I entered the forest of dark bewilderment Either the other half of the black star that blinds the moon Was lifted to the moon on either wing of noon butterfly...

Mr. Putney's Quacking Dog (review)

Reviewed by: Mr. Putney's Quacking Dog Deborah Stevenson Agee, Jon. Mr. Putney's Quacking Dog; written and illus. by Jon Agee. di Capua/Scholastic, 2010. [48p.] ISBN 978-0-545-16203-6 $16.95 Reviewed from galleys R Gr. 2-4. Wanna meet Mr. Putney's friends? Sure you do, because each introduction is essentially a Putney-personalized version of a "What do you call … ?" riddle with an animal-based portmanteau (portmanimal?) as the punchline. For instance, "Who wakes Mr. Putney up in the morning?" is answered with "An alarmadillo"; Mr. Putney enjoys jumping through an anteloop, his private locomotive is a traindeer, [End Page 4] and his house is watched by a guardvark. There's a sweet purity to the comic premise, and a pleasing inventiveness in the punchline critters themselves; kids will not only snicker at the jokes, they'll likely recast them into the more traditional riddle form and tell 'em themselves. While the illustrations have a little more solidity than usual for Agee, with smooth brushed black outlines instead of soft pencil ones, there's still a poker-faced milquetoasty air to their pale seriousness—if Bob Newhart were picture-book art, this is what he'd look like. With his taste for slip-on shoes and carefully pulled up socks, big glasses, and balding dome, Mr. Putney looks like somebody's dorky uncle, but he strides with confidence through his strange yet amiable world, where his worst scourges are an ice-cream thief (a crookadile) and a loud marsupial with cymbals (a clangaroo). Read it aloud, give youngsters a chance to read it alone, or use it as a prompt for further portmanteau creations—it's all goofily good. Oh, and Mr. Putney's titular quacking dog? A duckshund, of course. Copyright © 2010 The Board of Trustees of the University of Illinois

Butterfly Eyes and Other Secrets of the Meadow (review)

Reviewed by: Butterfly Eyes and Other Secrets of the Meadow Deborah Stevenson Sidman, Joyce Butterfly Eyes and Other Secrets of the Meadow; illus. by Beth Krommes. Houghton, 2006 [48p] ISBN 0-618-56313-X$16.00 Reviewed from galleys R Gr. 4-7 In Song of the Water Boatman & Other Pond Poems (BCCB 7/05), Sidman poetically treated the world of the pond; now she turns to the ecosystem of the meadow in sixteen new poems. Each spread offers two poems in riddle form, ending with an encouragement to guess at the identity of the subject; the following spread gives the answers and explains more about those particular meadow features or inhabitants. Most poems are gently rhymed or lyrical free verse accented with touches of repetition and soundplay, but a concrete poem and a pantoum also appear. Though the riddle aspect of the verses isn't always successful as a game (some poems offer too many possibilities, while in others—such as the one limning a plant's xylem and phloem—the subject is simply too technical for realistic guessing), the poems are still eloquent literature, and the explanations will quickly put the subjects into context. Krommes exercises such tight control over her scratchboard lines that her images resemble wood engraving with their hatch and cross-hatch textures; subdued colors and the rhythmic shadings of the black line bring order to what could otherwise be overcrowded meadow scenes. This makes an apt partner to Song of the Water Boatman, or it could serve on its own as a poetic introduction to this particular biosystem or a look at the unusual subjects poetry can effectively treat. A glossary of the relevant natural-history terms (and one poetic term) is included. Copyright © 2006 The Board of Trustees of the University of Illinois

I Untied the Camera of Tastes (Who Am I?): The Riddle of Chool (A Reply and Alternative to A. Sahay)

1 Anyone who writes should have no illusions about being understood. The intentional fallacy that critics applied to authors must be extended to the critics themselves. Amrohini Sahay read my books and concluded that mystory, choragraphy, and heuretics have to do with an idealist and ludic self-fashioning. Is this classification accurate? The real issue is what to do with the opportunity created by this invitation to reply. Since heuretics lends itself more to demonstra tion than to explanation, let me appropriate the genre of the riddle, however loosely, to articulate a current project. The riddle will function as the tale of the GATTt heuristic that I will use to generate this text, which in turn will have to do with how to use riddling in an electrate pedagogy. I will use this generator (which I introduced in Heuretics and elsewhere) to orient my exploration despite the fact that I tell my students not to speak directly of their CATTt, but to bury it in the garden at midnight if they hope to benefit from its magic power of insight. There is a riddle form which in a sense is a 'meta-riddle'; the question 'what is the difference between A and B?' To this the answer is T do not know,' and the answerer receives a retort which puts him to shame. ('What is the difference between the behind of a horse and a